Project and content management for Contemporary Authors volumes
WORK TITLE: The River Wild
WORK NOTES: adapted from author’s movie
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: http://denisroneill.com/
CITY: Los Angeles
STATE:
COUNTRY:
NATIONALITY:
http://www.imdb.com/name/nm0642137/
RESEARCHER NOTES:
PERSONAL
Married Deborah McLeod; children: three sons.
EDUCATION:Dartmouth College, B.A.; Boston University, M.A.
ADDRESS
CAREER
Writer and producer. Screenplay writer for The River Wild, 1994; A Shot at Glory, 2000; South from Blue West, 2018. Worked formerly as a writer and producer for WGBH-TV.
AVOCATIONS:Spending time in nature.
WRITINGS
Contributor to numerous periodicals, including Boston Globe Sunday Magazine, Fly Rod & Reel, Antiques, and American Photographer.
SIDELIGHTS
Denis O’Neill is a writer, producer, and screenplay writer. He wrote the screenplays for films such as The River Wild, A Shot at Glory, and South from Blue West.
O’Neill grew up in Greens Farms, Connecticut, on the edge of a forest. He grew up camping, hiking, and playing in the nearby woods. He attended college at Dartmouth and received a master’s degree from Boston University.
Following graduation, O’Neill worked as a writer and producer for Boston’s public television station, WGBH-TV. During this time he began getting articles and stories published in periodicals including Sports Illustrated, Boston Globe Sunday Magazine, and Fly Rod & Reel. In 1986 O’Neill moved to Los Angeles to pursue screenwriting.
In Whiplash: When the Vietnam War Rolled a Hand Grenade into the Animal House, O’Neill writes about the lives of a several Dartmouth College Chi Heorot fraternity brothers during the tense year of 1969. He details how the men navigate the world, college life, and their future with the draft for the Vietnam War recently instated. Writing in Huffington Post, Jacqueline Edelberg described the book as “heartfelt and often poetic.”
The book focuses primarily on protagonist Danny, a college senior and hockey player. Danny partakes in traditional college shenanigans, such as weekend-long binge drinking, while the threat of being drafted always weighs heavily in the back of his mind.
Ashley Iannantone in Loyola Phoenix stated that O’Neill “combines comedy with a more serious tone throughout the book.” He describes one character who engorges himself on beer and mac and cheese until he achieves his goal of being deemed too fat to serve in the war. O’Neill then shifts the focus to another character, a man who was drafted and sent to war. The horrors this character experiences encompass three chapters, and then the focus returns to the much lighter lives of the stateside college students. “O’Neill ensures the realities of Vietnam are as laid bare for the reader as they were for students of the time,” wrote Michael J. Perkins in Dartmouth Review.
The story is as much about Dartmouth College as it is about the Vietnam War. O’Neill writes about specific Dartmouth traditions, such as the Winter Carnival and getting drunk on the Green. The reputation of the school is described throughout the book, particularly in relation to students’ decisions to participate in or abstain from controversial protesting. Perkins in Dartmouth Review noted that Whiplash “illustrates a pure Dartmouth experience.”
BIOCRIT
PERIODICALS
Publishers Weekly, April 17, 2017, review of The River Wild, p. 49.
ONLINE
Denis R. O’Neill Website, http://denisroneill.com (January 30, 2018).
Dartmouth Review, http://www.dartreview.com/(January 24, 2016), Michael J. Perkins, review of Whiplash.
Huffington Post, https://www.huffingtonpost.com/ (November 30, 2013) Jacqueline Edelberg, review of Whiplash.
Loyola Phoenix, http://loyolaphoenix.com/ (October 31, 2015), Ashley Iannantone, review of Whiplash.*
Denis O'Neill is a writer and actor, known for The River Wild (1994), A Shot at Glory (2000) and South from Bluie West (2018).
Denis O’Neill is an author, screenwriter, producer, and nature enthusiast who holds a master’s degree in journalism from Boston University. He worked on staff and as a freelance writer/producer for Boston’s public television station, WGBH-TV. He began publishing articles and short stories in Sports Illustrated, the Boston Globe Sunday Magazine, Fly Rod & Reel, Antiques, American Photographer, and others. His original screenplay, The River Wild, was produced in 1994, directed by Curtis Hanson, starring Meryl Streep, Kevin Bacon, David Strathairn, and John C. Riley. A Shot at Glory, directed by Michael Corrente and starring Robert Duvall, was released in 2001. He lives in Los Angeles.
Headwaters of The River Wild
As any moving body of water has a headwater – a starting point – so, too, does this novel.
It started out as a humorous magazine article for Fly Rod & Reel (“Diary of a Mad Floater”) following a six-day float trip down Montana’s wilderness Smith River. From there, it flowed into an original screenplay which attracted Meryl Streep, director Curtis Hanson and the interest of Universal Studio, which released the motion picture incarnation in September of 1994. That flowed uninterrupted for nearly twenty years, until I decided the story should have a final life on the printed page. By then, there was more I wanted to say about the power and beauty of wild rivers and Mother Nature. The thriller ingredients, propelled by a vigorous downstream journey, provided the foundation I needed to add a new layer of suspense – a pursuing Montana state trooper not present in the film. It also gave me the storytelling energy I wanted to complement some more resonant thoughts about the importance of preserving our natural resources. The result is this novel – which has been shaped by its tributaries – yet like all rivers, has an identity of its own.
The Author
That love of nature carried forward, from the Berkshires, to the Adirondacks, to the Sierra, to the wilds of Montana
Denis O’Neill grew up in a house in suburban Connecticut, at the edge of a wood. As a boy, he exposed himself on a daily basis to the joys of the great outdoors: fishing, fort building, exploring, camping, fire making – the full range of youthful adventures and misadventures.
Four years at Dartmouth College cemented his love of the less civilized. The words of fellow Dartmouth writers Norman MacLean and Nelson Bryant showed him the power of writing in and about nature. He carried that love of nature forward, from the Berkshires, to the Adirondacks, to the Sierra, to the wilds of Montana.
Along the way, he wrote articles for Sports Illustrated, Fly Rod & Reel and the Boston Globe Magazine. When Hollywood beckoned, he melded his outdoor experience with the motion picture business, leading to produced movies such as The River Wild, and other stories set in the wilderness.
For almost forty years he’s fished various Montana rivers with a regular pack of friends. He lives in Los Angeles, fully aware you can take the boy out of the woods, but the woods stay in the picture.
Denis O’Neill grew up with his three brothers in Greens Farms, Connecticut, a few hundred yards from a muddy brook that offered up trout and bullheads in warm weather, and flowed from a woodland pond that froze in winter to inspire many a shinny hockey game. His father was a writer and a Civil War historian; the tap-tap-tap of his manual typewriter providing a constant soundtrack at 3 Turkey Hill Circle. His mother, who like his father served in the OSS in WW II, managed the wellbeing of four boys born in five years with a blend of common sense and uncommon patience.
After Dartmouth College, where he captained the hockey team, Denis worked as an ordinary seaman for long enough to make enough money to travel for some months in Europe, Great Britain, and Ireland. He returned to Boston where he became a folk singer for three years (Melville & Rockwell), then earned a masters degree in journalism from Boston University.
He worked on staff and as a free-lance writer/producer for Boston’s public television station, WGBH-TV — writing copy and host copy for such programs as Frontline, Mystery, Masterpiece Theatre, The National Ballroom Dancing Championships, Irish Treasure, and No Rish Need Apply.
He began publishing articles and short stories in Sports Illustrated, The Boston Globe Sunday Magazine, Fly Rod & Reel, Antiques, American Photographer and others. In 1986 he moved to Los Angeles.
His original screenplay, The River Wild, was produced in 1994, directed by Curtis Hanson, starring Meryl Streep, Kevin Bacon, David Strathairn and John C. Riley. A Shot At Glory, directed by Michael Corrente and starring Robert Duvall as an old school, second division Scottish football (soccer) manager, was released in 2001.
His Dartmouth memoir WHIPLASH – When the Vietnam War rolled a hand grenade into the Animal House will be E-published after Labor Day, 2013. Several other print projects, including the novelization of The River Wild, are at bat, or waiting on deck.
Denis has three sons from his marriage to Deborah McLeod. He holds an Irish passport, and has been a season ticket holder of the Boston Red Sox since 1978.
The River Wild
264.16 (Apr. 17, 2017): p49.
Copyright: COPYRIGHT 2017 PWxyz, LLC
http://www.publishersweekly.com/
The River Wild
Denis O'Neill. Skyhorse, $16.99 trade paper (280p) ISBN 978-1-5107-1598-1
Screenwriter O'Neill successfully adapts his 1994 movie The River Wild to the page. In an effort to save her floundering marriage, lawyer Gail MacDonald, a resident of Brookline, Mass.,.takes her architect husband, Tom, and their 13-year-old son, Roarke, to ride the rapids in Montana's Lewis and Clark National Forest, where she once guided raft trips. At their campsite, they encounter two men, murderer William Deakens "Deke" Patterson and rapist Terrance "Terry" Everton O'Reilly, who have just escaped from prison. The convicts, determined to elude law enforcement, compel the MacDonalds to travel down the river with Gail as their guide. Gail knows that, even if she can get them all safely past the violent rapids known as the Gauntlet, her family will be killed when they're no longer useful to Deke and Terry. Meanwhile, Det. Lt. Bobby Long of the Montana State Police and his assistant, William "Billy" Heston, are trying to locate the escapees, but they have no leads. O'Neill pits man against man and man against nature in this gripping thriller. (June)
Source Citation (MLA 8th Edition)
"The River Wild." Publishers Weekly, 17 Apr. 2017, p. 49. General OneFile, http://link.galegroup.com/apps/doc/A490820787/ITOF?u=schlager&sid=ITOF&xid=a8c09a7e. Accessed 9 Dec. 2017.
Gale Document Number: GALE|A490820787
‘Nam and the Animal House
Posted by Michael J. Perkins on January 24, 2016 in Arts & Culture | 0 Comments | A A A
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Whiplash: When the Vietnam War Rolled a Hand Grenade into the Animal House by Denis O’Neill (Vook, 330 pp.)
Whiplash: When the Vietnam War Rolled a Hand Grenade into the Animal House by Denis O’Neill (Vook, 330 pp.)
In what was undoubtedly the most influential game of their lives, the Dartmouth hockey team could barely keep their eyes on the puck. The game would be played, but their were no scouts to impress, nor a victory to be earned in the back of the net. This was one of the rare situations where the outcome of the game wouldn’t determine the winners. On the night of the 1969 Vietnam Draft, the hockey game was played with life and death hanging in the balance. In O’Neill’s words, “The real game that night was not on the ice.”
Intermingling competitive fun and deadly seriousness, Whiplash by Dennis O’Neill reflects on the timeless aspects of the Dartmouth experience. Beyond simply boozing with friends in fraternity basements, Whiplash captures the indescribable aura that coerced Daniel Webster to his famed quotation, “It’s a small college, but there are those who love it.”
On its surface, Whiplash is the story of a Chi Heorot brother during the Vietnam War. Specifically, it follows the lives of several brothers as their college experiences are transformed by seemingly unstoppable outside forces. O’Neill details their attempts to draft dodge, flavoring the story with insight into the lives of the brothers roaming “the Chi” from the Autumn of 1969 through the following year’s Spring. In doing so, Whiplash challenges strong values like tradition and the constant pressure for an ever-more-refined vision of a Dartmouth man.
The author empresses the lethal potency of war not only on his fraternity brothers but also on his readers through the tragic character, Birdy. Serving in the infantry in landmine-infested rice fields is a hellish predicament, code named “Mekong Delta,” and it contrasts starkly with the drunken shenanigans depicted in the surrounding chapters. By interspersing Birdy’s tale into three wrenching chapters, O’Neill ensures the realities of Vietnam are as laid bare for the reader as they were for students of the time.
Several of O’Neill’s focal topics of articulation have become ever-more relevant during this transitory and turbulent time for liberal arts campuses across the country. Operations like Moving Dartmouth Forward and the constant slough of protests motivated by racial and gender-based issues call into question the characteristics of an ideal Dartmouth student. Is he a champion for the voiceless or a politically-correct automaton capable only of espousing platitudes? Is he Dean Taymore or Phil Hanlon?
The author makes his feelings toward “the scourge” of political correctness known frequently: “this being a period of enlightenment in American education—a time when painted students with Mohawks could run around fires pretending to be Indians, and security at sporting events did not deter can of beer or bottles of tequila from being brought to the events—the men of Heorot were prepared to properly mourn or celebrate the twin competitions that lay before them: the game and the lottery. Win or lose, Dartmouth men knew the importance of the journey”
In the above passage and elsewhere, O’Neill provides the reader with a unique glimpse into the evolution of the Dartmouth Indian controversy with which most students are well acquainted. In the fall term just passed, Chi Heorot, alongside every fraternity, was informed that all depictions of the Indian must be scrubbed and marred from its walls. The disconnect between the Dartmouth described in Whiplash and the one we witness today is startling and disheartening. O’Neill leaves little doubt that the administration is the catalyst of these changes.
The most prominent member of the ‘69 administration detailed in Whiplash is Dean Taymore. Published in 2013, the same year as Hanlon claimed his zenith, it is difficult to lend credence to the notion that O’Neill designed his administrative powerhouse to draw an intentional contrast. Perhaps he had, in some form, insight into the personality of Phil Hanlon that would allow him to create such a starkly contrasting figurehead for the College. But such speculations are baseless, and it is more likely that Hanlon resembles the opposite of the powerful, passionate Taymore.
In O’Neill’s own words, “[Taymore] loved Dartmouth and most students viewed him as a fair-minded bridge between life in the undergraduate trenches and the administration. He was as comfortable playing beer pong in a fraternity basement as he was addressing the Board of Trustees.” With the force-feeding of MDF against widespread campus sentiment, Hanlon has ensured that any such bridge has since been burned. It is not easy to say whether the fire was first stoked by the students or the administration, but safe to say that small minorities from both ends soaked their half in gasoline as the stranded majorities watched in helpless dismay. With a hunched-over posture worthy of the slogan, “Just Endure,” Dartmouth students suffer against Hanlon’s MDF as they do with the New Hampshire cold; just another aspect of their penance.
Activism, then and now, offers the reader another firm handle for comparing the two Dartmouth’s we have before us. The embers of racially-stoked fires are still cooling in the midst of the disruptive Black Lives Matter protest that paraded through Baker-Berry Library just a few weeks before the end of Fall term. Eleven days after the incendiary event—which made national news, besmirching the reputation of the Black Lives Matter movement, both on campus and globally—President Hanlon was incensed, as can only be done by negative media attention, to respond to the incident. His e-mail, stuffed ad nauseam with platitudes and self-preservative language, offered only praise for the protesters and a distinction between their actions and the events that followed:
“This demonstration was a powerful expression of unity in support of social justice—Dartmouth at its strongest. I cannot say the same about events that transpired in Baker Library immediately afterward.”
Really, Phil? You can’t say the same? A racially inflamed group storms a study space on campus chanting “F*** your white tears!” and this half-acquittal is the most you can muster?
Hanlon’s unique ability to capitulate to these bullies parading for the ambiguous causes of social justice has diminished our school. He is not unique in his task of dealing with aggravated youth on a liberal arts campus. Over forty years before attaching “Occupy” to the man became a hip and socially commendable cause, Dartmouth students banded together in protest of the Vietnam War and the ongoing ROTC programs on campus, invading Parkhurst and expelling the administration.
Comparing the responses of Taymore and Hanlon forty-two years later offers insight into the source of the College’s modern affliction. In response to the students taking over Parkhurst in 1969, “Dean Taymore snapped. ‘Don’t touch me!’ he bellowed, grabbing the kid in a headlock. ‘Don’t you tell me what’s tolerable and what’s not! Don’t you tell me to go f*** myself!’ The Dean of the College had fifty pounds and eight inches on his opponent. Plus he was pissed off. He dragged the kid out of his office and into the lobby where dozens of other students shepherded other staffers to the door. Taymore burst into their midst like an incensed bull. ‘What are you doing!? This is Dartmouth!!!”
Some people might gloss over the use of a triple exclamation mark—perhaps more frequently seen in sorority response flitzes than a published memoir—but I feel they were included for a reason. The three punctuations represent the fiery passion that the Dartmouth administration of old distinctly had in abundance; a love for Dartmouth. Phil Hanlon’s frailty underscored, Taymore then sends in the police and the offending students are placed in jail for thirty days.
Although O’Neill depicts the protesters as brave activists fighting for their beliefs, he includes the incident alongside another violation. “She walked over to the window, lowered it and fastened the lock. She just stood there—as Danny had, hours earlier—each feeling as violated as the other. The next time Danny saw Julie, he was walking to class. He heard chants before he saw her in the middle of a hundred protesters.”
Just as Danny has broken a sacred trust, the Dartmouth students who expelled the administration from Parkhurst and nailed the windows shut violated the school. O’Neill has the foresight to see this unique play in student activism reoccurring once discovered: “It was one thing to oppose an unpopular foreign war; it was something else to physically seize college property and eject the President. It was radical in name, and in frequency. It had never happened before.”
The students that took control the second time around did not experience nearly as severe a punishment. And that’s a major point O’Neill makes in Whiplash. Activism needs to be difficult. It should be a grind to be aggravated because the struggle reveals who truly cares about the cause they support. “Occupying Parkhurst” was not brave the second time. It was safe.
O’Neill compares the Dartmouth experience to a road trip. It is clear that road trips were an integral part of his time at Dartmouth, but more than that, the author views his time at Dartmouth like the Green; a series of crosscutting paths to be explored and reformed when your destination changes. As students, we live a transient life. Our time here is four or five years in which we establish our lives, setting up camp like so many vagrants and wanderers. Dreams fall by the wayside and majors change as each person struggles to discover themselves. O’Neill embraces this period in which the destination is so uncertain: “If you keep your eyes looking down the road, the foreground will take care of itself.”
Existing at a college this small, there is a collective identity to which we all contribute. Students at Dartmouth face a unique identity struggle as they assimilate into our New Hampshire community nestled in the forest. Ubiquitous conversation topics seem to blanket campus like snow as the community lives in the present, in unison. We first experience this as freshman trips come to a close. Periodically, these waves of conversation wash over Dartmouth, Green Key, exams, other isolated incidents that vary from year to year. Maintaining an individual identity in the face of this conformity of experience is the plight of every Dartmouth student and the subject of much of O’Neill’s writing.
Ultimately, O’Neill illustrates a pure Dartmouth experience on the page. Quite unlike some other accounts of the Dartmouth experience, O’Neill manages to share a significant amount of his life in a fraternity in Hanover while still preserving the integrity of the institution. I eagerly await the opportunity to hear more of his experiences first hand, and envision the era before the administration decided to take the school on such a divergent pathway.
And maybe enjoy a beer or two.
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Book Review: Whiplash
By Ashley Iannantone
Updated October 31, 2015 7:53 p.m. CT
Published December 6, 2013 6:40 p.m. CT
BY THEA DILEONARDI
There is often talk of how bad the economy is right now and of how difficult it is for graduating college students to find jobs. These issues have permeated the minds of college students everywhere, causing stress and uncertainty in career plans. But we tend to forget how easy we have it compared to the generation of college students who were affected by the Vietnam War in 1960s and ‘70s.
In his book, Whiplash, Denis O’Neill recounts the experience of four Dartmouth College seniors and their fraternity brothers (and one fraternity sister) as they deal with the whirlwind of change the war brings to their final year of college.
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To most, college is the time to be young and crazy and free. For the graduating class of 1970, college was a mix of getting all the classic college experiences out of their systems and being forced to grow up and become part of an unpopular war.
Danny, Whiplash’s protagonist, takes part in many exciting escapades — the annual Winter Carnival where students get drunk all weekend, stealing hundreds of crates of beer from a derailed train in the middle of the night and taking over an administrative building in protest of the war — all while the impending war occupies his thoughts.
What’s even more interesting about these events is that O’Neill takes everything he writes about in the book from his or his friends’ actual experiences at Dartmouth. Everything that happens in the book actually happened in real life — and there are pictures to prove it.
O’Neill combines comedy with a more serious tone throughout the book, especially during the parts when the fraternity brothers tried every way they could to avoid going to war. One brother gained so much weight by constantly drinking beer and eating mac and cheese that he was deemed too fat for service. Another brother wore tightly laced boots for three months straight, and the resulting nastiness that was discovered upon finally taking off the boots deemed him unfit for service as well. And probably the most drastic tactic was done by Danny’s roommate: At the end of his physical, one brother, whose health was perfect enough for him to be deployed, reached back into his pants and licked some brown substance right off his finger. It turned out to be peanut butter, but the shock factor was definitely there.
Whiplash also includes an interesting feature: the list from 1970 of every birth date and its corresponding draft number. So you can see how lucky you would have been had you been a draft-age man during the Vietnam War. Fun fact: This was the first draft in America since World War II.
Verdict: O’Neill’s novel portrays the whiplash that students of this generation felt. The tagline of the novel, “When the Vietnam War rolled a hand grenade into the Animal House,” rings true as students faced the transition from fraternity parties to the rice paddies of Vietnam. But more than a witty anecdote of a devastating war, Whiplash is a novel that should make us grateful that upon graduating we won’t face the draft, just unemployment.
Whiplash is available for $23 in paperback online and at Barnes and Noble stores and the e-book is available for Kindles and iPads for $7-8 through Amazon and iTunes.
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1969: When Winning the Lottery Wasn’t
By Jacqueline Edelberg
Americans tend to remember sacred dates: the day Kennedy got shot or the Twin Towers fell. For many Boomers, there’s another date with an upcoming anniversary: December 1, 1969, the night our government reinstated the draft lottery for the first time since WWII. Every able bodied male between 18 and 26 found out — by dint of a lottery ball drawn from a fish bowl at Selective Service Headquarters — if he was chosen to win the hearts and minds of the Vietnamese people. On campuses across the country, 195 was the defining number: under 195 meant trading textbooks for combat boots; over 195, in the words of John Belushi, meant TOGA!
In author Denis O’Neill’s heartfelt and often poetic new memoir Whiplash: When the Vietnam War Rolled a Hand Grenade Into the Animal House, we glimpse what it felt like to come-of-age at Dartmouth between the free love of Woodstock and the raging anger of Kent State. At that time, my Uncle David was one of many college kids who realized his government was telling a big fat lie, and took to the streets to do something about it.
Like O’Neill, my uncle was a handsome, hard-drinking Ivy Leaguer who unexpectedly found himself stopping police batons with his face. As a young girl, I’d run my fingers over his thrice-broken nose, as he tried to explain how the draft lottery turned his fraternity life upside down. He promised I’d understand it better in college. However, when I landed on the apolitical campus of the University of Chicago, where fun goes to die, David’s stories still didn’t compute. Until I read Whiplash.
O’Neill recounts the time Dartmouth bestowed an honorary degree on Senator George McGovern. The day before graduation, the presidential hopeful told students at a peace symposium that America was “Less in danger of becoming a welfare nation, than in becoming a warfare nation.” My generation has witnessed so many shock and awe campaigns since we freed all those sheep in Grenada, haven’t we become the warring nation of McGovern’s prophesy?
Nearly half of today’s volunteer army is populated with young men from disadvantaged households. And in the army, the military’s largest branch, it’s nearly two-thirds. Maybe it’s time we had another draft lottery to send the anxious low-number holders of all socio-economic rungs into the streets to protest. Maybe random conscription would save us from becoming a welfare nation, too.
Or maybe, we don’t need a draft lottery anymore than we need a school lottery. Imagine if Obama co-opted JFK’s “Ask not what your country can do for you, but what you can do for your country” shout-out, and instituted a national service program, like those found in the fine countries that top every ‘best at...’ list. An enlightened service program would include military enlistment, yes, but also options to teach, mentor, build, plant, and generally care for one another.
The Feds wouldn’t need to stage elaborate WPA projects either. Currently, there’s a not-for-profit organization for one out of every four Americans. What if we just leveraged the networks of care that already exist?
Without waiting for a presidential mandate, philanthropist Anthony Melikhov has hatched an ambitious global movement called unite4:good that aims to establish a new standard whereby acts of kindness and service becomes so idolized that everyone chooses to make them a part of their daily life. Take the consciousness-raising of the ‘60s, add social media and cutting-edge technologies like Youtopia’s gamification and badging platform, add a dash of bitters from Wall Street, shake and pour. A powerful cocktail to pull us out of the ginormous mess you Boomers and bankers have left us in.
Imagine if service became inspired rather than required? JFK told us that the energy, the faith, the devotion which we brought to this endeavor would light our country and all who serve it — and the glow from that fire would light the world. If my generation ignited that homecoming bonfire, double-down that we’ll all don togas and laurel leaves, tap a keg, roast marshmallows, and generally feel like we’ve won the lottery. For real.
2013-11-30-whiplash.jpg
Parkhurst Takeover, Photo courtesy of Dartmouth College Library
Follow Jacqueline Edelberg on Twitter: www.twitter.com/walktoschool
Jacqueline Edelberg
Author, Artist, Social Entrepreneur